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A+ |
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A+ |
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A+ |
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| Direction: |
A+ |
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A+ |
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Scorsese Brings His Affairs To Higher Ground
by Eric (movies profile)
Feb 17, 2008
217
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330 people found this review helpful
When it comes to remakes, it seems that filmmakers are split into two camps: ones that want to stay 100% faithful to the original (and thus requiring us to ask why make another one in the first place) and the ones that want to make their own version of the same story. Martin Scorsese, who can be named the grandfather of the modern crime film, doesn't choose either. His version of Infernal Affairs, known as The Departed, polishes up the earlier movie and makes it the way it was supposed to be, adding new layers to characters and letting themes build to climaxes that deliver the goods.
The Departed, and therefore Affairs, is based on a premise of an undercover cop planted deep into the mob while a mob goon is planted deep into the police department, where they find out about each other. This time, the cop is played by Leonardo DiCaprio and the goon is played by Matt Damon. The Boston State Police want to take down Irish Mobster Frank Costello (Jack Nicholson), and use rookie recruit Billy (DiCaprio) to do it. His cover is so deep, only his captain (Martin Sheen) and his captain's right-hand-man (Mark Wahlberg) know about it. But Frank's mole Sullivan (Damon), is efficient as well in getting in deep, finally to the point where he's leading the team trying to find himself. Both men are sweating bullets and are constantly one step away from detection, knowing that they can never quit, that the game has gone too far.
With The Departed, the changes are not so much in the bones of the story, but the muscle and tissue of character development. It's mostly interested in Sullivan since he's the bad guy that has lived a life appearing to be inside the law, and to have become accustomed to doing things right. If Frank were to never call again, that wouldn't bother him. But even Nicholson's character is given a major face-lift, going from two-dimensional mob boss to being a man ran by his need for adrenaline that has him taking needless chances in heists, not to mention women and drugs. For him death isn't a deterant, but just a means of stopping. And then there's Billy, who is losing his stomach for the violence that comes with being close to Frank, which requires him to take medications perscribed by a police psychiatrist (Vera Farmiga), who also is Sullivan's lover.
The film's structure leads the characters to a destiny fueled by the need for redemption of both undercover agents. Their fates, along with those close to them, soon form a tragedy that we can understand, yet mourn for both men. Early in the film, Frank mentions that men could either be cops or criminals, but that either side you choose when you're faced with a loaded gun, "what's the difference?". The film goes about to answer just that question.
I have not seen such an amazing cast put together all year. With two of the best leading performances I've seen this year with DiCaprio and Damon earning their paychecks (with bonuses) after each and every scene. Nicholson's supporting performance is so strong, you want to think the film is all about him. But my favorite supporting players come from Wahlberg, who just comes to life in every scene and brings the jokes with him. And then there's a great performance by Alec Baldwin as Damon's superior, who is more interested in promotion than justice (but since justice is the best way to promotion, he cares about that a lot too).
The screenplay, adapted by William Monahan is a credit to the original screenplay as well as an original with it's fluent new twists and rich dialogue. This might not be the most pleasant thing to say, but I really enjoyed hearing how original these characters insult each other.
But the ringleader Martin Scorsese requires another nomination for best director as he redefines mean street filmmaking for the third time in his career. His Boston feels used, worn thin by age and uselessness. He's able to get the look of neighborhoods that never change filled with people that never leave. And with his cinematographer Michael Ballhaus and long-time editor Themla Schoonmaker, he keeps the story moving smoothly, even while he jumps back in time in scenes as a side thought, then come right back to the present. Again he shows why he's the living legend of filmmaking.
All in all, you won't find a better film that leaves you more satisfied than The Departed. In fact, this is one of the year's best films. If Infernal Affairs were the piano solo, The Departed is the full string orchestra. And with Scorsese at the healm, this bloody symphony reaches it's peak. |
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